If you scroll to the bottom of this review, you'll see the TL;DR version, but if you'd like to see my take on what may be the most capable and natural-sounding combo desktop unit out there, dig in below!

The Chain:
MacBook Pro > Conductor 3XR > HE6, PS1000, PS2000e, Mayflower v1

Test Songs (all FLAC either 16/44 or 24/28):

"Dad Gone Thing" by Gregory Porter - All Rise
"Strasbourg/St. Denis" by The Roy Hargrove Quintet - Earfood
"Grown Folks" by Snarky Puppy - Culcha Vulcha
"Tom Sawyer" by Rush - Moving Pictures (2011 remaster)
"I Will Sing Jesus" by Highlands Worship - Jesus You Alone
"Jupiter, from The Planets" per Sir Adrian Boult and the LSO

Sound: In a word: natural. Yes, admittedly that word is as overused in head-fi as others like musical, fun, or organic, but in my mind, when I say something sounds natural, it means that there's a reproduction that is true-to life. The value of any headphone (or any other audio gear) to me is directly tied to it's ability to reproduce what I'd hear sitting in the audience or in the studio booth. The C3 just that really really well. Most live rooms I've been in have a thick bass presence, slightly forward vocal/midrange, and as much upper end as it bearable without being fatiguing. That's what Burson has in the C3. (Methinks this is why so many enjoy the sound of vinyl...)

Bass: Clean. Traditionally I've preferred the plumpness that comes with tube amplifiers with my headphones of choice: Grados. I've usually been ok giving up a little definition to gain some impact - call me a slam over details guy. I'll say that with the C3 though, I've found the most pleasant happy medium, and maybe my favorite bass presentation I've heard in a combo unit. Kick drums have just the right blend of punch and texture (Snarky Puppy & Rush tunes), synth lines are thick, and even the timbre of upright bass (check out the Roy Hargrove!) or low brass is just really well done. I feel it and I hear it! Bravo to the Burson team for striking the balance that is so difficult to nail.

Mids: Smooth and oh so-slightly prominent. The mids/vocal range reminds me so much of a well-made tube amplifier (looking at you Kenzie!) Voices sit beautifully in front of the band in the worship track as well as Greg Porter's tune. There's a nice open quality that really comes through in breathy vocals a la Norah Jones that I've only experienced in a few other units like the H2 or the RME. Still though, there's a weight to instruments in this range like guitar, sax, and cello that just sounds, well, right.

Treble: I'm sure you're seeing a theme here, but the upper end is so clean! Grados are finicky and it's easy for them to sound bad if upstream source gear is to bright/hard, OR if it's too rolled off. The C3 dodges both bullets and yields detail, smoothness, and air. Really able to see what the PS2000e and HE6 are capable of in this range, especially in the busier parts of 'Jupiter' and Tom Sawyer. Cymbals and strings alike are shimmery, but never too hard or abrasive. Hats off to the Australians for managing to pull this off!

Soundstage/Imaging/Separation: If not the best I've heard, it's up there!

Aesthetics/Build Quality/Accessories: Excellent, bar none.

Qualms: The only semi-qualm I have has been said before. I don't listen to IEMs at my desk a lot, but the C3 does hiss a bit with sensitive in-ears. If that hiss was completely gone, I don't know what you could fault this unit for!

JD's SS Combo Unit Ranking : Conductor 3XR > RME ADI-2 FS > Hugo 2 > Audio-gd R-28 > Singxer SDA-2c > Conductor SL > Questyle CMA600i > Concero HP > Mojo > Questyle CMA400i > Emotiva DC-1 > Audio-gd R2R-11 > O2/ODAC

Final Thoughts: I certainly am a satisfied customer and wholeheartedly recommend the Burson Conductor 3XR. I feel right in saying that the hype is real! If you're looking for a powerful, capable, aesthetically-pleasing combo unit that does just about everything well, this one gets my highest marks. Thanks for reading!

ampsandsound has made quite a name for itself in the last few years. I remember the first time I saw pictures of Justin's classic designs and honestly, based on looks alone, assumed they'd never be in my realm of affordability (and in seeing some of his more recent releases, still aren't lol). I however, am very happy to say that I've recently been able to purchase one of Justin's personal units and I'll just say it... I'm out head-fi! Read on to see why this guy ticks every box for me.

The Breakdown:

The Chain:
MacBook Pro > Hugo 2 > Kenzie > HD58X, GH1, & PS1000

Test Songs (all ALAC either 16/44 or 24/96):

"Happiness" by Needtobreathe - HARDLOVE
"Strasbourg/St. Denis" by The Roy Hargrove Quintet - Earfood
"Grown Folks" by Snarky Puppy - Culcha Vulcha
"Living Hope" by Phil Wickham - Living Hope
"I Will Sing Jesus" by Highlands Worship - Jesus You Alone
"Jupiter, from The Planets" per Sir Adrian Boult and the LSO


Sound: In a word: tone. In discussion with Justin about the differences between his headphone amps, the word he used to describe the Kenzie first was the same. It's not particularly colored one way or the other, but because of it's no-feedback nature, can be swayed one way or another, whether by cables or tubes. In every experiment though, all of my listening selections were marked by a richness that was hard to deny. I don't know if I'd say smoothness, but to steal a word from the world of photography, everything had just the right amount of saturation. Thoroughly enjoyable with every song.

Bass: The low end on this amp is wonderfully clean and full. My headphone of choice is the original Grado PS1000, which has quite a bit more heft than just about every other Grado. The Kenzie strikes a great balance of thickness and control. With some amps I've owned, the PS can get a little too plump and cover the low midrange. Not the case here. From the kick on "Happiness" to the upright on "Strasbourg, St. Denis" everything in the bottom was tightly controlled yet unrestricted. It bears mentioning that I had the same experience with the GH1, HD58X, and an auditioned LCD3.

Mids: Sorry for the redundancy, but the word here is rich. I've had a MAD Ear+HD and Mainline during at the same time as the Kenz, so there's been plenty of tube-goodness to go around. The Mainline has a certain smoothness that was undeniable, and the MAD already has plenty of rep for it's tube-tastic flavor. Where the Kenzie differs (to these ears at least), especially with a few NOS tubes is that it maintains a noticeably better balance between smoothness and detail. The harmonized vocals from Highlands Worship's recent release were easier to separate but still sounded very natural and coherent. The same would apply to the horns and keyboards from the Snarky Puppy tune. So much fun!

Treble: Best balance in the upper range I've heard from a tube-design headphone amp. One of my make-or-break song for testing the upper end is "Grown Folks" by Snarky Puppy. There are trumpet/keyboard stabs throughout that are wince-worthy with the PS and less-refined or otherwise treble-tilted source gear. With the Hugo 2 alone, the upper end on those licks brushes up to the edge of my comfort. Running the Hugo into the Kenzie took just the slightest edge off, even at high volumes which is exactly where I like it to be. The MAD nor the Mainline accomplished that; they traded clarity for smoothness or sacrificed the latter for a little peakiness.

Soundstage/Imaging/Separation: Great! I've heard wider on a few occasions, but what I like about the presentation here is that the separation from left to right is strong AND the front to back is there. In my experience, usually you get one or the other. The Hugo alone offers TOTL separation, but adding the darling circuit really does something special with the front to back imaging. Well-done orchestral and jazz recordings really came to life when the tubes were added in!

Aesthetics/Build Quality/Accessories: Su. Perb. Volume pot is super smooth. Plugs are tight. Fit and finish are all super clean. Frankly, I love the classic look and feel of this amp. Everything looks and feels well-made and I'll be honest, I feel a little bit like I've arrived with this piece of heirloom-quality gear on my desk. Thanks Justin for committing to your gear truly looking as good as it sounds!

Qualms: The only semi-qualm I have is probably predictable. Having the headphone jacks in the rear isn't super convenient. Yes I know it keeps the look clean and from a design standpoint, there's an advantage I'm sure. Just feels a little strange (or maybe just different) to have my Grados plugged into the rear with the cable draping over and between the exposed components. (Yes, I know the Encore solves this, but the Encore is beyond the bounds of my budget!)

JD's Tube Amp Ranking list: Kenzie > MAD Ear (upgraded) > Svetlana 2 > Mainline/WA6SE> Mjolnir 2 > Pan Am > WA6 > Elise/WA7tp > Ember II

Final Thoughts: All in all, the Kenzie is a beautiful, well-made, tone monster of a tube amp that deserves consideration from anyone in the market for an heirloom-quality piece of kit. For dynamic headphones, it's got all your bases covered (have heard it may not be there for hard to drive planars but I don't have any of those). I certainly am a satisfied customer and wholeheartedly recommend it! Thanks for reading!

From my R2R-11 review, "I'll be very honest. One of my favorite sub-hobbies in the grand scheme of head-fi is auditioning and discovering giant-killing gear. To me it's pretty fun putting much less expensive gear up against bigger, fancier kits to see how well the David compares to the Goliath."

I'm quoting the above because the Soloist MkII from Burson is another piece of giant-killing gear. It's a diminutive solid state amplifier that offers the sound quality, build quality, and smart design that in a lot of places, costs much more money!

Instead of the normal breakdown - bass, mids, treble, soundstage, etc - I'm going to go through this review according to the pros and cons list above.

Value:
For the MSRP of $499, the MkII version of the Burson Soloist is a no-brainer if you're in the market for a solid state amplifier, especially if your primary headphones employ dynamic drivers. I've owned/auditioned several SS desktop amps from the likes of Schiit, Audio-gd, and Cavalli to name a few, and if you're in the market for something that does just about everything well, but can't drop more than $500, I heartily recommend this guy before anything else.

Sound Quality:
In a word, enjoyable. Compared to the RNHP from Rupert Neve (which ain't no slouch!) the Burson throws a more realistic soundstage, offers more texture on the low end, and contributes a bit more air in the upper regions.The Neve might be said to offer a more studio-quality sound while the Soloist pursues a audiophile-quality. I'm a Grado-head to be sure (let the ice-pick, shrill, science project comments fly!) and my go-to headphone is the original PS1000. While just about every other Grado is served best from an all tube design (MAD Ear, Kenzie, WA6), the PS sounds best out of something valve-less. Enter the Burson. It takes the PS deep, stays true to the Grado midrange, and very cleanly and enjoyably portrays a treble range that is neither abrasive nor shrill.

'Comfortable' power:
Here's what I mean by that: Everything I've thrown at it has been driven very well, and what I mean by that is not necessarily that there are gobs of power on tap (I've learned that gobs of power is not always better if it means I only have 10 degrees of play in the volume knob), but rather the drivers are firmly controlled and clean. No weird soundstage or low bass issue, both of which can be affected by insufficient powering. The most difficult to drive headphone that I've used is my pair of Paradox Slants and on hi-gain, these are plenty loud at 1:00. It bears mentioning also that music comes from a very black background. Better than the Schiit Lyr and RNHP for my Grados for sure. Not sure about IEMs because I don't use mine at my desk!

Versatility:
In addition to the aforementioned driving power, the Soloist offers two RCA inputs as well as a high/low gain button. I'll mention here that I appreciate the straightforward approach in this area. While sometimes things like crossfeed switches, additional gain levels, and other options are nice to play with, I generally like to 'set it and forget it.' The MkII lets me do that!

Cons:
Not really any that I can think of. I suppose that if you're strickly a planar guy, this might not have quite the power that you might want, but that's really a quibble at this point.

So in conclusion... the MkII version of the already acclaimed Soloist from Burson is a great choice for a desktop SS amplifier for the budget-conscious listener. You could certainly spend a lot more money and do a lot worse in this hobby. I bought it on a whim and it's not going anywhere anytime soon!

I'll be very honest. One of my favorite sub-hobbies in the grand scheme of head-fi is auditioning and discovering giant-killing gear. To me it's pretty fun putting much less expensive gear up against bigger, fancier kits to see how well the David compares to the Goliath.

For those that like to skim, here's the TL;DR. The R2R 11 from AGD is a giant killer in every sense of the word. I can't think of a more versatile device for a computer based head-fier on a budget.

Instead of the normal breakdown - bass, :, treble, soundstage - I'm going to go through this review according to the pros and cons list above.

Value:
Unbeatable. For under $400, the R2R 11 gives you a very solid ladder DAC implementation that can play every format from redbook to native DSD, enough driving power for just about anything short of an HE-6 or K1000, multiple gain levels, and a top notch Amanero USB board. Enough said.

Sound Quality:
Let me put it like this. This little combo unit compete handily with separate dedicated DACs and amps that together totaled over $1600. Did it beat them around the board? Of course not. But let's just say that it definitely took some effort to pick apart the differences between the two rigs.

Overall the R2R is a smooth, fatigue-free listen that isn't rolled off or lacking in the detail department. For those who find the influx of Sabre chip-based DACs a little bright or abrasive, the flavor that this guy offers might be just your medicine. To me it's in the same vein as the Denafrips Ares and Schiit Bimby. Smooth, clean, and natural.

Driving power:
Like I said above, this little guy has enough juice to drive any dynamic, and almost any planar headphone with ease. I threw AKGs, Grados, and Senns at it and none of them presented a problem at all. Plenty of headroom all the way 'round!. It also bears mentioning that the 11's output impedance is friendly to any headphone and all but the most sensitive in-ears. Not to mention you can dial in the sensitivity/volume play using the different gain levels!

Versatility:
In addition to the aforementioned driving power, the 11 also has three different input options, AND can run signal to the headphone out, fixed, or variable LO.

Size:
There are plenty of other combo units that offer the complete feature set that the 11 does (although 99% at a higher price tag), but take up way more space on the desk or rack. This little guy has a footprint smaller than a piece of printer paper! If desktop space is limited, I can't think of any other combo units that can get you this far up the head-fi ladder in such small square footage!

Cons:
Not really any that I can think of. I suppose wait time on a new unit could be a con if you're not in China. I'm sure some purists will pick out flaws on the measurement sheet, or the fact that there's no LED or balanced outputs, but honestly at this price point, I think the 'pros' list far outweighs anything you could find on the 'cons' side!

So in conclusion... the newest entry-level combo unit from Mr. Kingwa is a home run for sure. You could certainly spend a lot more money and do a lot worse in this hobby. The R2R 11 get's two enthusiastic thumbs up from this head-fier!

PS - I certainly think that this is one of those pieces that could be moved into a larger, heavier case with a fancy OLED, a few more XLR ins/outs, and a bigger power supply, and then sold for $$$ and no one would be the wiser...

(This is my first time writing a review on the site's new look, so bear with me...)

Ah, the Neko. A DAC that's been around for a little while now, but only recently have I heard about, much less owned it. Stumbled across it online while looking for a new DAC, and after reading reviews and a little back and forth with Wesley, the designer, I decided to pull the trigger, and well, I'm very glad I did!

My rig: MBP running JRMC > Singxer F-1 > Neko > MAD Ear+ HD. I've also got the Auralic Vega/Taurus stack, but that's an apples to oranges comparison, so if it appears in the review, it will certainly be brief.

Design:

Even though this isn't the newest FOTM design, the Neko has held it's own wonderfully. Wesley's unique all-passive design has produced a very natural, non-fatiguing, yet highly-detailed converter that would serve most audiophiles well, as long as they don't require USB input. It's a fully balanced design with only COAX and optical inputs. I believe you can specify when you order, whether you want RCA or XLR outs.

Build quality is solid. Basically we're looking at a metal black box with a power switch on the back and an input selector on the front. My kind of DAC! No obnoxiously cluttered menus, switches, or dials here. Just a piece of hardware that does it's job, and does it well!

Sound:

From the bottom up...

Bass: The low end on this guy is very impressive. There's a nice vinyl-esque heft and fullness that provides a great foundation. Songs like Half Time by Amy Winehouse and Grown Folks by Snarky Puppy really show of the resolution and fullness of the low range that the D100 mkII offers. It's bass bests that of the Bimby, Cuinas, and Concero to these ears!

Midrange: Excellent! To me this is where DACs live or die. If you can't get the mids right, then why are we even giving you the time of day? Vocals have a great presence and richness that sounds very multibit-esque to me. A lot of qualities here are similar to those of the Gumby and Bimby. Guitars have a nice bite, but no harshness. Instruments have a wonderful organic quality that aren't nearly as digital sounding as the Mojo or Geek Pulse. Some of the best midrange I've heard in my entire head-fi journey.

Treble: Solid. Compared to the depth of bass and richness of the midrange, I'd say the treble isn't quite as impressive, but that's not to say it's bad or unacceptable. It's not as rolled of as say, a NOS design, but there's a bit of relaxation up top that trades the last amount of air for 'easiness.' Recordings like Chris Tomlin and Steve Vai that can be a little treble-happy are easier to listen to thanks to the Neko. If you're a fan of brighter headphones a la Grados or HD800s, this might be a great piece of source gear for you!

Soundstage/Separation/Etc: Above average. Similar to my impressions of the treble range, this isn't an area I'd necessarily write home about, but I do think it's in line with it's price point. On well-recorded material, there's a very good sense of space and depth between instruments - think Morph the Cat, Frampton Comes Alive, Grammophon classical recordings, etc. And conversely, when there's not, there's not. All I have to say about that!

In conclusion, the D100 mkII is to me, a highly underrated DAC that could make a serious dent in the market if it was a little prettier. It's no nonsense, small-house design keeps it off the hype train, but I certainly think well of it and recommend it without hesitation if you're not needing USB or DSD capabilities. To give you an idea, here's where it stacks up with the last five DACs I've owned: Vega > D100 > Teac 503 > Cuinas > Mojo.

Check it out!

I've owned and auditioned quite a bit of gear in the few years I've enjoyed head-fi. From my humble beginnings with the Koss PortaPro and the way up to the Audeze LCD3's with plenty in between, I've gotten to hear a lot of quality headphones and gear. I've gotten off the merry-go-round for the headphone circuit (with my PS1000s and ZMF Ori's), and now, thanks to the Woo Audio WA8 Eclipse, I see the end of the tunnel for upstream gear as well.
 
The Breakdown:
 
The Chain:
MBP running JRMC21 > Woo WA8 > PS1000, Ori, 64 Audio U8
 

Zebra Ori's from the WA8 are killer!
 
 
 
Test Songs (all 320 MP3, 16/44, or 24/96 FLAC and ALAC):
 
"10,000 Reasons (Bless the Lord)" by Matt Redman - Campfire
"Strasbourg/St. Denis" by The Roy Hargrove Quintet - Earfood
"Grown Folks" by Snarky Puppy - Culcha Vulcha
"Hands are Clever" by Alex Clare - The Lateness of the Hour
"Best for Last" by Adele - 19
"Modern Soul" by James Blake - The Colour in Anything
"House of Mercy" by Sarah Jarosz - Undercurrent
"Jupiter, from The Planets" per Sir Adrian Boult and the LSO
 
 
Sound: In three words: rich and clear. I've owned two other Woo amplifiers and to me the Woo sound is definitely warmer than neutral and while the WA8 still has a bit of that delicious tube warmth, it's a little leaner than some of the other offerings from NY. This makes it a great option for serious listeners who have a variety of tastes and/or headphones.
 
Bass: Great impact with lots of texture and layers. In three-tube mode, the WA8 plumps up the low end a bit, while two-tube mode levels things out more. I felt like I was getting the control from a SS amp, but the rich, fat thump that I've only ever heard from all-tube designs. From the U8 IEMs to the ZMF Ori's the low end through the WA8 doesn't leave anything to be desired! Check those kick drums:
 

 
Mids: The reason I can't get out of the tube game is because of that rich midrange sound. Well, Woo has done it again. Vocals aren't quite as forward as my older WA6 or something like a MAD Ear, but they are still wonderfully placed. Adele sounds great, as well as the guitar and sax solos in my Snarky Puppy. Lots to enjoy here, especially with cans that are known for a quality midrange presentation.
 

 
Treble: Clean! This was the only thing I was a little worried about. I've never been able to keep any Sabre-based DAC because I always found the upper end fatiguing over time. So glad to report that so far, I've not got that hair-raising feeling I usually get when cymbals get busy or violins soar into the stratosphere. Compared to the other Woo's I've heard, I'd say that the upper end is the biggest departure from the classic Woo sound. It's certainly not strident or overly-aggressive, but definitely not as smooth and slick as the WA6 or WA22 to these ears. 
 
Soundstage/Imaging/Separation: Well, I wouldn't say that the soundstage is a revelation by any stretch, but I would say it's on par with or better than Schiit Mjo2, Questyle CMA600i, WA6SE, and the Feliks Elise. The beautiful, holographic soundstage that Woo is known for is there, but with better spatial cues and placement than a lot of full-blown desktop rigs I've heard.  Jupiter is my soundstage test. Check it!:
 

 
Other stuff:

1. Operation is really straightforward.
2. There's a surprising amount of power for my planars.
3. 3-tube > 2-tube to me, but going to 2 does offer a little more neutrality if that's your thing! 
4. Dead silent background from sensitive IEMs to dynamics. 
5. Setup - piece of cake. No hiccups whatsoever, just plug-n-play.
6. Volume knob - never used another I like as much as the Woo's!

 
Qualms: Not really anything. MSRP isn't great, but you can't complain about that and still think $4k for a pair of headphones is okay... Also, several have commented on the short battery life. Here's my take: Woo messed up in calling the unit a 'portable' solution. That word is automatically associated witjh small handheld units like DAPs and stackable amps a la ALO CDM and Chord Mojo. Thinking of the WA8 as a desktop unit that can be transportable would be a better description. Don't expect it to run all day off the battery, but do realize that you can take it to Starbuck for a few hours and not need to be tethered to the wall. Also, being assured of clean, steady power, no matter who's dingy, poorly-wired apartment you're in is definitely a plus as well. 
 
JD's Combo Unit Ranking list: Woo WA8 > Teac UD-503 > CMA600i > Emotiva DC-1 > Chord Mojo > Audio-gd NFB 29 > ALO Pan Am > Resonessence Concero HP > Audio-gd NFB 11.32/15.32 > 
(please note this list is based on both function AND SQ)
 
Final Thoughts: All in all, the WA8 really impresses on every level. It sounds great, looks great, has a tiny footprint, is very competitive with full desktop amp/DAC rigs, and plays well with a lot of headphones. I suppose some quality nitpicking would find some niggles, but considering all you get in this attractive package, I'd say this a grand slam for the Woo crew! Thanks for reading!

Here we go...
 
Gear used: Macbook Pro running JRMC21 > S6 or Cuinas DAC/WA6 > PS1000s and ZMF Ori
 
Test tracks:
 
"Strasbourg/St. Denis" by The Roy Hargrove Quintet - Earfood
"Grown Folks" by Snarky Puppy - Culcha Vulcha
"Gold" by Chet Faker - Built on Glass
"Best for Last" by Adele - 19
"We are Free" by Planetshakers - Endless Praise: Live
"Jupiter, from The Planets" per Sir Adrian Boult and the LSO
 
From the bottom up...
 
Bass:
Full and tight. Definitely not as plump as the all-tube WA6, but not as bass-light as a lot of solid-state gear I've heard. It's a very nice middle ground that checked most of my boxes. The ZMF's hit hard when needed, but never felt bloated (which can happen easily depending on the recording). Like a lot of other head-fiers, I enjoy the PS1000 out of a SS amp rather than a tube. This was no exception. From Snarky Puppy to the LSO, the low end was well-extended and thumpy.
 
The bass test: 
 

 
Mids:
Clean and clear! I'd call this a conservative midrange presentation. Neither forward, nor recessed. I didn't get the lushness that the tubes offer, which is what makes a lot of vocal tracks SO engaging, but at the same time, I never felt like I wasn't getting anything. Instruments like sax, guitar, and organ cut beautifully, and came through both headphone in a way that I think a lot of DAC designers miss. 
 
Great track for midrange voices/instruments: 
 

 
Treble:
Very similar to the midrange in that I'd say it's a conservative sound. Cymbals and high string sounds in the test tracks never became strident or overly aggressive (looking at you Jot!), but I definitely got all the detail I've heard before. The Cuinas/WA6 combo provided a little less detail, but a more smooth presentation overall. 
 
Soundstage/Imaging/Separation/WhateverYouWantToCallIt:
Above average for sure, but not as holographic as what a well-designed tube amp can offer! Soundstage was a very average size that didn't push me way back, nor did it put the instruments just outside of my skull. There's lot of power on tap, so I do feel like both my dynamics and planars had plenty of headroom. Once again, a conservative presentation that doesn't necessarily wow me, but certainly didn't do anything poorly!
 
Qualms: 
Nothing major. I did not experience any operational niggles or issues, so I won't comment. All jacks and plugs were sturdy and well-implemented, and there wasn't really a learning curve to getting the music flowing! In this day and age that's something pretty special.
 
Build/Design:
Very solid. From the easily-read screen to the layout of the outputs, to the feeling of the volume knob, everything seemed to be assembled very well. I'm not a huge can of the somewhat convex shape of the top of the unit, really just because it makes any kind of stacking look/feel unsafe, but that's not a huge issue. One thing I do want to mention is that the S6 really impressed me with this single characteristic: simplicity. Does it have a bazillion filters, upconversion, digital playground options? No. Does it have more buttons than a scientific calculator? No. Can it stream wirelessly while picking up your kids from soccer practice? No. But, it's a very well-thought-out unit, that handles any music you throw at it, has a well implemented USB input, runs SE or balanced headphones with plenty of power, and displays only the information you need when you're playing music. The fact that it sounds very good for such a low price is really just icing on the cake!
 
Final thoughts:
I said it above, but I think that the S6 represents an excellent value all-in-one unit for headphone listeners who want top quality function and sound for under $1000. It's middle-of-the-road sound signature means that it will play well with a variety of headphones, it's got lots of power on tap, it will play any normal file format you have, and best of all, you just plug and play. Great job Aune!

I'll admit Teac is a brand that flown relatively under my radar since I began my head-fi journey. Seeing as how their gear rarely get's dedicated appreciation threads, major reviews on the usual head-fi websites, or a dedicated fan club, I'll admit I assume the gear they produce was just so-so. Let me tell you... I couldn't have been more wrong.
 
The Breakdown:
 
The Chain:
MBP running JRMC21 > W4S Recovery > UD-503 > Project Ember > Alpha Prime, PS1000, HD800S (loaner)
 
Test Songs (all ALAC either 16/44 or 24/96):
 
 
"Happiness" by Needtobreathe - HARDLOVE
"Strasbourg/St. Denis" by The Roy Hargrove Quintet - Earfood
"Grown Folks" by Snarky Puppy - Culcha Vulcha
"Gold" by Chet Faker - Built on Glass
"Best for Last" by Adele - 19
"Common Ground" by The New Gary Burton Quartet - Common Ground
"Jupiter, from The Planets" per Sir Adrian Boult and the LSO
 
 
Sound: In a word: analog. I realize that this is a loaded term when it comes to our hobby, but here's why I chose it. The 503 does vinyl better than vinyl! 

 Jokes aside. It has a fantastically non-fatiguing, yet highly detailed sound. There's definitely a little more warmth than 'neutral' but certainly nothing that I'd call flabby, loose, woolly, or syrupy. Just a pleasant tube-like euphony that yields just a hair more slam, midrange richness, and treble sweetness.
 
Bass: The low end on this guy is wonderfully clean and full. From my DC-1 review, "In my experience, you often are stuck with a choice. Full low end with rolled off treble or detail for days with just enough bass to know it's there." Thankfully the good people at Teac have given us both! We get the reach that is usually reserved for SS amps, but the lush thickness that only tubes deliver. Kick drums have a fantastic punch, electric basses have a thickness I've only ever heard from tube-based DACs, and electronic music sounds are deep and clean! In all hyperbole-free honesty, the 503 has a great low end. Really fills out slightly lean cans like the HD800 or Alpha Prime, but never went overboard with cans that already have a little bump in the trunk.
 
Mids: Rich. I had the Questyle CMA600i at the same time as the 503 and the two units are remarkably similar. Both offer balanced design based on the AKM4490 DAC chip. To me the midrange was where they differed the most. The Q was more in-your-Schiit face while the Teac was a touch more laid back. Once again though, the mids had an organic richness that I've only ever heard from tube-based designs before. From Adele to ZZ Top, vocals just seemed to float out in front. Check out the pipe-work on one of my favorites:
 

 
Treble: Extended, yet non-fatiguing. Just like the mids, the treble in the Teac was more laid back than the Questyle. I was very reminded of 1) a nice vinyl rig, but more recently, 2) the Chord Mojo. Somehow the DAC implementation was done so well that it eeked out every bit of detail as the Schiit Gumby, yet still never made me wince when I was rocking the PS1000s or HD800S. That's quite a feat gentlemen. The upper end really made this unit so easy to listen to. I rarely found myself wanting to analyze or compare this guy to other gear. I really just sat back and let the tunes flow! 
 
Soundstage/Imaging/Separation: Let me put it like this. During the time I had the Teac, I auditioned a Gumby, Mojo, and the CMA600i. Teac beat em all. I'm sure I'll be lambasted for saying a combo unit that retails for $$$ less than the Gumby could do things better, but that's how I feel. So ya know, it must be true! 

 Jupiter is my soundstage test. Check it!:
 

 
Aesthetics/Build Quality/Accessories: From an aesthetic standpoint, the Teac won't win many awards. It's a little awkward looking and certainly doesn't offer any sort of cosmetic flare like Schiit or Chord products, so if you want something that will look like a piece of furniture on your desktop, this guy ain't gonna cut it. But I will say that everything was laid out very well and made operation very simple. Buttons press easily, OLED is easy to read, volume turns like a dream, and there are about every input you could need around back. Not to mention you get a sturdy remote. Not bad Teac, not bad at all!
 
Amp Section: Just so be thorough, I'll add this blurb about the amplification section. 1) Very clean. No hum, hiss, or noise. 2) Had plenty of power for my Alpha Primes and HD800S when I had em. 3) Played well with both high and low impedance cans. 4) Both headphone-outs were used simultaneously without affecting SQ. Honestly unless you're trying to power HE-6 or something else that's just crazy power hungry, the 503's improved amp section over it's predecessor should cover all your bases! I did compare it's amp to that of the CMA600i, and while the 600i offered more total power, I wouldn't say it was better, really just more aggressive in nature. The Teac still could get anything I threw at it up to ear-splitting levels.
 
Qualms: The only semi-qualm I have has to with the head-amp setup. A unique feature of the 503 is that not only do you get two 1/4" outputs that can run simultaneously, with the right cable, you can run them in balanced mode just like you would if you had an XLR output. Instead of reterminating my headphones, I had a custom dual-TRS-to-XLR adapter made so I could try my Alpha Primes and loaner HD800S in balanced mode. 1. I didn't notice enough of a difference to justify the balanced output, but the fact that you'd have to have your cans reterminated to a very unorthodox plug OR pay someone to make a custom adapter to make use of the balanced out is kind of a pain. Teac could really score some points if they offered an OEM adapter for those of us with XLR-equipped headphones. 
 
JD's DAC Ranking list: Teac UD-503 > Gumby > Emotiva DC-1 > Chord Mojo > Resonessence Concero HP > ALO Pan Am > Audio-gd NFB 11.32/15.32 > Schiit Bifrost Multibit > Centrance DACport LX > ODAC > Cambridge DACMagic 100 
 
(please note this list is based on both function AND SQ)
 
Final Thoughts: All in all, the 503 is an incredibly underrated piece of head-fi gear. It offers complete balanced operation, preamp and headphone amp functionality, a smokin' DAC section, DSD capability, remote control, multiple filter options, and an LCD screen all for right at $1k. Few bargains of this caliber are to be found in our hobby gentlemen. If you're in the market for a solid-state combo unit for any headphone with low to medium power needs, this guy really should be at the top of your list!

The Emotiva DC-1 Stealth DAC is frankly, an incredible value. The only other products I can think of that offers such a complete and capable skill set for such a low cost are the Koss KSC75, SennGrado, Chord Mojo, and Cavalli Liquid Carbon. Here's why:
 
The Breakdown:
 
The Chain:
MBP running JRMC21 > DC-1 > Cavalli Liquid Crimson > GH1, GS2000e, Alpha Prime
 
*other gear used for review: Mojo, Liquid Carbon, PS1000, Tralucent 1+2
 
Test Songs (all ALAC either 16/44 or 24/96):
 
"Limit to Your Love" - James Blake - James Blake
"Grown Folks" - Snarky Puppy - Culcha Vulcha
"Best for Last" - Adele - 19
"My Hero" - Foo Fighters - The Colour and the Shape
"Sky Spills Over" - Michael W. Smith - Sovereign
"Make It Mine" & "Butterfly" - Jason Mraz - We Sing, We Dance, We Steal Things
"Time Out" - Hiromi's Sonicbloom - Time Control
"Jupiter, from The Planets" - Gustav Holst - Sir Adrian Boult and the LSO
 
Sound: In a word: neutral. I realize that this is a loaded term when it comes to our hobby, but here's why I chose it. The DC doesn't emphasize any parts of the spectrum to me. The low end is present and controlled, the midrange is clear and balanced, and the treble is detailed and extended. In my music-ings with this DAC, I never felt like there was any information missing. It's all there, and it's all in proportion.
 
Bass: The low end on this guy is pleasantly clean and full. In my experience, you often are stuck with a choice. Full low end with rolled off treble or detail for days with just enough bass to know it's there. In this case, Emotiva gives us a product that yields both. I used the DC to feed the Carbon when I had it, but with my SE headphones, I often alternated between the Carbon and the headphone-out of the Emo. With easier to drive cans like my Grados and 1+2, the bass was more extended on the Carbon, but not by much. If I wasn't A/Bing them, I wouldn't have noticed. There was a more appreciable difference between DC and Carbon for my Alpha Primes, but that shouldn't surprise anyone as the Primes love the power that balanced connections can yield. 
 
In comparison to the Mojo, I could not hear a difference between the Emo and the DC through their respective headphone-outs. So take that for what it's worth.
 
Mids: Clean. To put it briefly, the midrange on the DC is just clear. It's neither forward, like the Bladelius or Starting Point DACs I used to have and it's certainly not recessed. In comparison to the Mojo with lower impedance cans, I could not really detect any differences in the midrange. Now when I used the Primes, the Mojo edged out the Emo in the midrange with regards to presence and weight, but not by a lot. Once again, if I wasn't A/Bing them, I wouldn't have noticed.
 
Treble: Extended, yet non-fatiguing. It seems like FOTM products nowadays are all about hyper-detail retrieval and treble energy. To my ears, that's not necessarily what live music sounds like. When I go hear a band, either in studio or at a live venue, I can't hear a cockroach break wind from behind the stage, and neither do I want to! The DC gives me just the right amount of treble presence. It's extended, clear, and very realistic. No digital glare nor tube-esque syrup. The neutrality of the DC pairs wonderfully with my Crimson, adding just enough sparkle to make the Grados sing without making me wince.
 
In comparison to the Mojo, the most noticeable difference between the two products was here. The Mojo did not quite reveal the same amount of upper level stuff (think cymbal nuances, finger squeaks, etc.) as the DC. Now, in most cases, the Mojo does just fine, having just the slightest smoothing of that upper end is going to make most rigs way easier to listen to, especially for long sessions. However, since I was able to compare the two, I'd give the nod to the Emo in this instance if you're considering either for mostly desktop duties.
 
Soundstage/Imaging/Separation: Great, not brilliant. Once again, the DC excels in 'rightness.' The soundstage and imaging capabilities are very good. Now I'm sure if I ever hear a $3k+ DAC, I'll feel differently, but for now I'm plenty satisfied. When I'm running the Emo with my Crimson, the soundstage is beautifully and accurately represented. That's all I have to say about that!
 
Aesthetics/Build Quality/Accessories: This is one place where the DC beats a lot of it's competition. The build quality is simply fantastic. It looks and feels like the DAC that Batman would use. Heavy duty construction, tight input/output jacks, and gratifying knobs that don't feel like they belong on a kids Fisher Price radio. I've learned that as you ascend the head-fi ladder, sound quality improvement certainly comes in smaller increments, but build quality really follows the price curve. The Emo's heft and sturdy construction (not to mention it comes with an equally well-done remote!) feels right at home with my Cavalli amp that retails for 6x as much!
 
I would like to say a quick piece about the headphone amp in this little guy: it's superb. Very balanced, clean, and offers quite a bit of high current power (something like 1.2W into 32 ohms I think...). Many times, the headphone circuit in a DAC is merely an after-thought courtesy. I'm happy to report that if you're a head-fier who'd like a neutrally-tuned, all in one design that really wouldn't require upgrading for a while, this is a product you need to look at. When using the Grados through the DC, I noticed very little improvement when I plugged them into the SE out of the Carbon or Mojo. Now it's not going to power an HE-6, and for the most part, a fully dedicated amp is going to offer more sonic improvement for cans like Audezes, Senns, and Hifimans, but the DC-1 really can hang with lots of headphones of mid to low impedance and power requirements. 
 
Qualms: No real qualms, but there are a few things that the potential buyer may want to know. First, the volume is stepped in .25 db steps. That means I can really dial in my sound, but if you're using the remote or knob, things can take a few seconds to get moving. Second, the included headphone outs are 1/8" not 1/4". Now I've come to learn that that was by necessity as there's simply not enough room in the chassis to fit larger plugs, but the smaller jacks do take away from the otherwise premium feel that this DAC delivers. And finally, the power-off sequence when using the knob takes forever. I've got to hold my finger on the knob for several seconds before it goes to standby mode. Not a real issue, but annoying nonetheless.
 
JD's DAC Ranking list: I'm only including this since a lot of initial research was done by typing 'Emotiva DC-1 vs...' This list in based on overall value - not purely SQ.
 
EDITED since I've owned a few more DACs since this review: Teac UD-503 > Gumby > Emotiva DC-1 > Chord Mojo > Resonessence Concero HP > ALO Pan Am > Audio-gd NFB 11.32/15.32 > Schiit Bifrost Multibit > Centrance DACport LX > ODAC > Cambridge DACMagic 100 
 
Final Thoughts: While Emotiva has been around for a while, we don't often see their products being touted as often as other American companies like Grado, Woo, and Schiit. I'd like to report, that if Emotiva's other products are built with the same quality standards as the half-rack DC-1, then they need to quickly move to the front of your mind when it comes to shopping for hi-fi gear. From the plethora of input options and neutral sonic signature to the very capable head-amp section, the fully balanced DC-1 represents one of the best values in head-fi. Period.

The BLU-200 from Brainwavz is an update to their first foray into Bluetooth listening, the BLU-100. The 200 features a new tuning, some welcome ergonomic upgrades, and as per usual, a healthy accessory package.
 
 
The Breakdown 
 
Test Songs:
 
"Light Up the Sky" - The Afters - Light Up the Sky
"Attaboy" - Yo Yo Ma, Stuart Duncan, Edgar Meyer, & Chris Thile - The Goat Rodeo Sessions
"Love Yourself" - Justin Bieber - Purpose
"Washed by the Water" - NEEDTOBREATHE - The Heat
"A Good Name" - Shad - TSOL
 
 
Source:
iPhone 5C running Spotify Premium (Streaming 320)
 
Build/Accessories: From my review of the BLU-100: "Solid. Just like every other piece of Brainwavz gear I've reviewed, there are no obvious shortcomings here. Sturdy housings, cable, and inline control box. The case is the hardside Brainwavz case that has worked really well for all their IEMs and well, that's all I've got to say about that."

Bass: Boom! The low end is quite filled out on these guys. If I remember from the 100, they were a little bass light, so the extra thump is welcome here. I also think that the heavier bass will appeal to most consumers who will use these for low-quaity mp3's at the gym. I will say that from an audiophile's standard though, the bass is very round, and often it bleeds into the midrange. If you want taut bass with excellent midrange clarity, look elsewhere! My boy Shad actually sounds pretty good thanks the junk in the trunk!
 

Mids: As mentioned previously, the midrange can be drowned out by the low end if you're not careful. When I back the bass off with a little EQ however, the mids reveal themselves to be very clear and slightly recessed. If memory serves, the midrange on the BLU-100 was a little more forward and present, so if you're less of a basshead, that may be the better option for you. Check out my jam from J-Bieb:
 

Treble: Very clean and relaxed! A suprising amount of clarity is afforded hear, given the price tag and the fact that these are a wireless headset. Usually details are the first to go when wires are given up. Glad to hear that the upper end from the BLU-100 was retained in this model.

Soundstage/Separation: Nothing to write home about. At this price, one shouldn't expect to have divine instrument placement or separation. It's not bad, but it would be dishonest of me to sing all kinds of praises here.
 
Design: Also from my BLU-100 experience: "Excellent. Yes the housings are Frankenstein big, but here's the catch: no long cable to run to my DAP! The included tips seal well enough that the housings aren't tempted to fall out, so then all I've got left is roughly a foot of cable hanging down like a necklace and that's all there is to worry about. Inline controls are thoughtfully placed and easy to use. To charge, all I have to do is open the right housings and charging port is inside! An excellent thoughtful design really goes a long way in this case. Using these for the gym or active use is a no-brainer. You'll not have to worry about cable wear again! Oh and BTW, the battery life is pretty dang good. You'd get several workouts in before you'd have to worry about recharging." I also need to mention that there are three small, but meaningful and well thought-out ergonomic improvements:
1. The Velcro cable cinch. Yes I know that's a small thing, but it's appreciated nonetheless.
2. Fins. The 200 comes with a pair of removable rubber ear fins that improve stability for the largish housing. They're very comfortable and easy to position. Well done.
3. Behind-the-neck cinch. Another small fix that is quite helpful. The cable has a small run-through that will let you adjust the cable to be looser or tighter against the neck. Now it doesn't bounce around when I run! 

Conclusion: Overall, the Brainwavz BLU-200 is a very ergonomically engineered Bluetooth headset that should certainly be considered for the active, budget-minded basshead. I wouldn't call it an upgrade over it's predecessor, but more of a side-grade. The 100 had a more balanced signature, while the newer 200 has a deep V-shape with gobs of rumble! Check it out!
 
***This review unit was provide free of charge by Brainwavz. I'm in no way affiliated with the company or any of it's vendors.***

The AK100ii is a DAP I've had my eye on for quite some time. At first glance, it's obvious that it's a premium piece of kit, with it's clean efficient lines, quality touch screen, minimal physical interruptions, and compact size. Reading up on it's specs and the fact that it keeps (and improves) on it's previous iteration leads one to believe that for the asking price, this should be a one stop product, where a bunch of tweaking, additional cables, outboard DACs or amps shouldn't be necessary.
 
And ya know what? It lives up to the hype.
 
The Hits 

1. Support for every lossless format under the Sun
2. USB DAC capability
3. Wi-fi and Bluetooth capabilities
4. Smoothest, most natural UI I've encountered

 
The Misses

1. Physical button layout
2. FILE TRANSFER FOR MAC USERS

 
My Thoughts
 
To give you an idea of where I'm coming from, my head-fi DAP history has included a plethora of iPods, a sample of Sansas, a cache of Colorflies, a basket of iBassos, and a few Fiios. Some like the iPods, C3, and DX50 were used with additional amps & DACs, while the X3, X5, and DX90, have been standalones. 
 
For a while, the X5 was my go to as it checked off just about everything on my list. After all, most of my music is redbook quality, my main headphones are very easy to drive and I have no desire to have to carry a giant stack of gear around. Portable audio should be portable after all! 
 
Sound
 
The X5 never left me feeling like I was missing much on the sound end of things, but when a nice deal on a secondhand AK100ii came up, I pulled the trigger. Figured if for whatever reason, I didn't like it, I'd be able to move it along quickly. After giving it the full run-through with my RS1, GH1, and 1+2 however, there's no doubt in my mind that the X5 has been usurped.
 
Starting from the bottom, the bass is truly and completely audiophile quality. There's no bloat, no over-the-top sub-bass, and no Earth-shattering mid-bass lift (unless they're already in the recording). What I'm hearing is bass that is incredibly textured, articulate, fast, and dynamic. When called for, it can certainly bring the rumble, but that's only when I'm listening to hip hop or EDM which have that sound in the recording. The AK has made me realize that the X5's low end was a little warmer than I realized, perhaps to strike a happy medium between the budding audiophile and average consumer. 
 
In a word, the midrange is... neutral. I'm definitely a mid-centric listener. My entire desktop rig is designed around the RS1's incredible midrange. And while I loved the thick and lush vocals and crunchy guitars that the X5 gave me, going to the AK has shown me that I was losing out quite a bit on texture and depth. The 100ii doesn't just rush voices to the front of the mix. They stay a little further back so they sound more cohesive with the rest of the track, rather than isolated  to give them the spotlight. I'll admit sometimes I miss the warmth that the X5 lent to Norah Jones and John Mayer, but I think what I've gained in my upgrade is easing my suffering 

 
Treble. Clean, airy, textured, and sometimes, a touch too clean. If there's one sonic characteristic about the AK that gave me pause when I first received it, it was the upper end. It's incredibly uncolored and detailed. A clear step up from the X5 and the DX90. However, every once in a while the Grados and the Tralucent would get a little abrasive on abundant cymbal crashes or peaky female vocals. I added just a bit of EQ and rolled some foam tips onto my IEM's and now we're good to go. Now bear in mind, I'm a little treble sensitive, so fear not, I'm not saying that this headphone is nails-on-a-chalkboard screechy at all. It's overall presentation is very clean and neutral. It's gonna give you what's on the recording. If you've got treble-happy headphones, they're not going to be tamed. And if you've got warmer cans, the extra clarity on the upper end may be a nice synergy for you! YMMV.
 
With regards to soundstage/separation/depth/etc. the AK is the best I've heard in a portable solution. This is where I feel like DAP's really separate themselves and the AK shows that it's clearly a force to be reckoned with. Because of that ultra-clean treble, instrument separation is excellent; leaps and bounds ahead of anything I've heard from Fiio or iBasso. Soundstage width is only a little above average, but depth is quite good! The 100ii really shows off how capable the 1+2 is in this regard. 
 
Function
 
I don't care to spend too much time in this section because frankly I don't need to. I read a post recently about how a company choosing to employ the computer power of something of this caliber should make the UI almost cell-phone like and I agree... partially. If you're trying to market a premium product, IMHO premium sound is only half the battle. A premium UI is the other half. Luckily, the Android-based UI that AK has developed is very straightforward and easy to use. Granted there have been several firmware updates and as far as I know, they are still continuing to improve, but mine is running 1.25 and I don't feel like anything is missing. Menus are intuitive, controls are easy, there is minimal lag, and I've yet to experience a freeze or crash. When I rolled with the X5 and the DX90, I could navigate well enough, but I definitely felt like the UI was an afterthought. 
 
The only real qualm I have with this player is the file transfer protocol for Mac users. You have to download an app called Android File Transfer and quite frankly, it sucks. It's inconsistent. It's slow. It often hangs up. And it's incredibly limited in it's capabilities. Makes a new DAP owner a little bummed that he's got to try half a dozen times just to get his music on his player! Would love to see this little feature fixed either on AK or Android's end. 
 
I should also mention that the 'extra' features that AK chose to include are well-done EDIT: ok and appreciated. These include wi-fi capability for streaming, Bluetooth for wireless play, and USB DAC functionality that works very smoothly. The only one I really wanted was the USB DAC, but now that I have the others, I'm certainly feeling like I got more of my money's worth.
 
EDIT: Went back to further confirm these and didn't have a lot of success. They worked, but were a little inconsistent. Luckily for me, I don't use either of those functions very often.
 
Conclusion
 
In summary, the AK100ii, a.k.a. The Gatekeeper (for the land of portable high resolution listening) is a very well-made and designed product that anyone (that's ready to pony up for it's asking price) should consider. Now that it's been out for a while, firmware is very solid, and finding one on the used market makes it even more affordable. 
 
If you want neutral, clean sound with a slew of extra capabilities, then the Astell & Kern 100ii should be on your short list of players!

Until I saw one posted in the classifieds a few weeks ago, I'd never heard of the Bladelius brand. From my reading, they are more known for things like power amps and media servers - two things I have no use for. I saw another B-DAC online earlier last week and figured I'd make an offer as most of the write-ups I'd seen about their first foray into the mid-fi DAC world was positive. Let me just tell you... I'm very glad I did!
 
The Breakdown:
 
 
Test Songs (all FLAC, ALAC, or AIFF either 16/44 or 24/96):
"You Give Me Something" - James Blake - Undiscovered
"Gold" - Chet Faker - Built on Glass
"Blue Monk" - Chick Corea Trio - Trilogy
"Kashmir" - Led Zeppelin - Physical Graffiti
"Best for Last" - Adele - 19
"Lincolnshire Posy" - The President's Own Marine Band
"Pride" - Dynamo - Find Your Way
 
Source:
MacBook Pro > JRMC20 > Bladelius DAC > MAD Ear+ HD > Grado RS1i or GH1
 
Sound: Smooth, rich, and musical.
 
Bass: I went through a period when three or four of the DAC's I had were based on Sabre chips. I gave those as much attention and tweaking as I could, but I honestly can't get on board with that sound. Even the Geek Pulse (which has the 'warmest' Sabre implementation I've heard) still had an uncomfortable digital glare going on. I feel SO much better now that I'm running a DAC based on a Wolfson chip. The reason all of that info is in the bass section of my review is because that's where I think those two house sounds differ the most. The Wolfson's low end is so much fuller and more dynamic. Kick drums aren't just heard, they're felt. Upright bass pizzicato's don't just have a sound, they also have weight. Love, love, love the low end that this B-DAC boasts. Pairs wonderfully with the MAD Ear and Grado combo. Couldn't be happier (and that's coming from a guy who's had a slew of Schiit, Audio-GD, and LH products)!
 
Check out Brian Blade's bass and tom sounds as well as Christian McBride's upright playing on this tune to see what I mean:
 

 
Midrange: Rich and smooth. About as analog from a non-NOS DAC as I've heard. Voices are rich and have wonderful clarity and texture. The Sabre's that I mentioned earlier might've had a slight edge of detail-retrieval, but the Wolfson implementation here is just so much more fun. I also would like to mention that the midrange is exceptionally even. From the upper bass/low mid to the very beginnings of the treble realm, the B-DAC never glares or shouts. That's a feat in itself considering what the upper end of poorly matched Grado's can sound like!
 

 
Treble: Aaaahh. Now that's just nice. The biggest issue I personally had with any Sabre DAC I've owned is the over-digitalized sound of the upper end. Yes there's details for days. Yes I can hear a fly land on the 3rd tuning peg of Victor Wooten's bass on my live Bela Fleck recordings. But frankly I don't care about that capability if it seems out of place or unnatural. Bladelius' implementation here has it right! Cymbals in the Dynamo tune are full of nuance and natural decay. The edges of James' Morrison's raspy voice are clean and zing-less. Just a wonderful pairing overall with my headphones of choice. Relaxed, detailed, and organic.
 
Soundstage/Separation/Etc: Normally I don't include much about soundstage and the like in a DAC-only review because it seems to me that the amp influences those aspects the most. After all a properly powered headphone has much better headstage than the same can underpowered. However, I felt compelled to mention that the B-DAC does seem to give my Grado's more depth and a clearer sense of layering and separation. Instead of hearing instruments is non-distinct corners of a room, I hear them with much more accuracy with regards to direction and distance. Definitely a plus in my book!
 
Check it:
 

 
Qualms: Nope. 
 
Build Quality: Excellent. Clean, efficient, and sturdy. If there was ever a list of adjectives that a guy would want to describe a piece of gear, that's it. 
 
In Conclusion: In case you didn't put it together already, I'm quite a fan of Bladelius' USB DAC. It's good a wonderful sound quality, it's a piece of cake to use, and it's built like a tank. Unfortunately, this little piece of kit is no longer in production, so you probably won't have the opportunity to own one, but if you do, I highly recommend it. JoeDoe out!

 

So Grado's newest headphone, the limited edition GH1? Well, the total of it all is that it's the best sub $1000 offering from Grado yet. It marries several of the best qualities of the RS, PS, and GS series in one gorgeous maple package. Read on to see why!
 
From my 325e review, "I've listened to a lot of headphones. A lot a lot. More than anyone should. And as such, I've developed some preferences. To keep this from dragging on... Grado is where it's at if you want lifelike reproduction. Back when I reviewed my RS1i, I mentioned that it was the first and only headphone (to that date) I'd heard that made me feel like I was listening to actual instruments. The 325e was the second and now the GH1 is the oh-so-sweet third. After further investigation (a few meets and lots of forum discussion) I've learned that a large number of Grado-heads are actual gigging musicians. Coincidence? I think not."
 
Gear used: Macbook Pro running JRMC20 > Bladelius DAC > MAD Ear+ HD with Raytheon 'Windmill' 5751
 
Test tracks:
 
"Love is a Verb" by John Mayer - Born and Raised
"Trampled Underfoot" by Led Zeppelin - Physical Graffiti
"Strasbourg/St. Denis" by The Roy Hargrove Quintet - Earfood
"Thing of Gold" by Snarky Puppy - groundUP
"Gold" by Chet Faker - Built on Glass
"Common Ground" by The New Gary Burton Quartet - Common Ground
"Jupiter, from The Planets" per Sir Adrian Boult and the LSO
 
From the bottom up...
 
Bass:
Punchy, thick, very textured, and tasty! Fairly certain this is my favorite version of low end I've ever heard from Grado. The PS500's low end is lush and the GS1000 has the punch, but the GH1 strikes an incredible balance between those. Whether it's the thick, room-filling sound of the upright in the Hargrove or the tasty tom/bass drum fills in the Snarky tune, this low end just excellent. It has the speed that Grados are known for, but adds a little more meat without muddying or subwoofer-izing the bottom end of the frequency range. Just a great tuning down low. 
 
And P.S., this low end is pretty stellar through L AND G cush pads. There are very few Grados that can really pull that off!
 

 
Mids:
From my 325e review, "Vocals, guitars, and horns sound just... right." Yeah. That's about it. Imagine taking the incredibly lifelike sound that the RS1 yields, dialing it back maybe 10% and framing it with a weightier low end and slightly less energetic treble. That's the GH1. I've owned/heard more 50 headphones in my short head-fi career, and the RS1's mids are by far my favorite. They sound like real vocals, real guitars, and real horns. No offering from Senn, Audeze, Hifiman, or Beyer has gotten it right like the RS1. After the two weeks I've spent with the GH1, I can confidently say that these are a very close second to the RS midrange. Just yummy!
 
Check out John's voice and guitar work on "Love is a Verb." The nuance in this track is really pretty awesome and if you don't have the right gear to pick up on it, you'll miss it!
 

 
Treble:
I was really pretty worried that the upper end would be a little too consumer-friendly in it's presentation.The PS500's treble is still Grado-esque, but it doesn't bring the energy and raw texture that the 325 and RS1 are capable of. The GH1 however, gets the good stuff! Intricate cymbal work in "Thing of Gold" is killer. The transients in "Jupiter" are as good as I've heard (without sounding digitally enhanced of course) and frankly, well, the treble on the GH1 is just great. Every once in a while, the sizzle on the RS1 can be a little fatiguing especially if the recording is already a little treble-hot. The GH1 is dialed back just enough to where that doesn't happen. 
 
Soundstage/Imaging/Separation/WhateverYouWantToCallIt:
Here's one of my favorite things about this headphone. If I leave the included L cush pads on it, I get the normal, smallish Grado soundstage with decent separation and mediocre-at-best depth/layering. However, when I slap the large bowl pads from the GS/PS1000 on them, the GH1's take on another dimension of sound! They develop depth! They develop width! They even get instruments a little further away from me, which to these ears makes the sound largely more cohesive! If you don't believe me, check out some of the longtime Grado junkies' impressions in the appreciation thread or the Grado Fan Club. There are a few people who claim that the GH1 with big bowls gets you more than halfway to the PS1000's sense of depth... 

 
 
Just sayin...
 
Qualms:
Not really anything major, as far as comfort or sound quality goes. The only real eye-rolls I have are that 1. this headphone came in the same bottom-of-the-line packaging as the Prestige Series models. I'm sure this was a cost-cutting decision, but for the incredible sound quality I'm getting, a little more premium presentation would've  been nice. Same reasoning goes for my wanting to see some metal gimbals here. The plastic ones look and feel cheap. At least I got the padded RS-style headband... sheesh.
 
Final thoughts:
If you didn't gather it in reading above, I think the GH1 is my new favorite Grado. The RS1 is a permanent keeper and it'll never leave, but the more 'fun' tweaks in the GH1's signature make it hard not to reach for every time I sit down at the laptop! From it's lightweight design, to it's gorgeous maple cups, to the incredible detailed, yet enjoyable tuning, the GH1 probably represents the best value in the Grado lineup that's gonna run you more than $300. If you can get your hand on one of these limited edition cans, I can't recommend it enough. Truly a wonderful product from the Brooklyn boys!

While any avid head-fier is likely to know of at least one, if not multiple versions of a modified Fostex T50rp, knowing which versions are likely to fit one's personal preference is a whole other story. If you like rich mids and a little heft down south, Mad Dogs are likely to please. A more neutral tuning? LFF is your guy. Somewhere in between has largely been filled by the excellent ZMF Master Model. 
 
However, there is a newcomer who's made quite a name for himself as far as I'm concerned. He's a head-fier and he goes by PETEREK. His modified T50rp (I'm told a snazzier title is forthcoming, but for the remaineder of this review, I'll call it the PTKT50) bests all of the above headphones to these ears. But that's just the tip of the iceberg. Not only do they sound awesome, but they are extremely customizable, more comfortable than the competition, AND priced firmly in the middle of this tier's price bracket. So without further ado, let's get to it!
 
The Breakdown 
 
Test Songs (all FLAC either 16/44 or 24/96):
 
The Curtain - Snarky Puppy & Metropole Orkest - Sylva
Love Yourself - Justin Bieber - Purpose
A Good Name - Shad - TSOL
Lightning Crashes - Live - Awake: The Best of Live
Strasbourg/St. Denis - Roy Hargrove Quintet - Earfood
You Go to My Head - Lauren Desberg ft. Gretchen Parlato - Sideways
Too Close - Alex Clare - The Lateness of the Hour
 
 
Sources:
MBP > JRMC > ALO Pan Am
MBP > JRMC > DACport LX > MAD Ear+ HD
 
Before we jump into specifics, I need to clarify something: the PTKT50 is not a mass-produced product. There are really only a few out there thus far. PETEREK is a fantastic modder who's work is not only legendary, but also wonderfully unique. Knowing that you're rocking a headphone that no one else on Head-fi has is a pretty sweet feeling!
 
So for the sound...
 
Overall tuning: largely linear (check out the graph), which a little extra bump in the trunk and sparkle up top. Somehow PETEREK has found a tuning that stays true to hi-rez recordings, but also insists that you bob your head while listening. Quite the feat if you ask me!
 

 

Bass: From another review of mine: "Full and textured. I've learned that my favorite bass presentation is that featuring a present sub-bass sound, with a slight mid-bass boost. This makes kick drums a little more felt than just heard and works better for lower level listening." The PTKT50's bass bears a large resemblance to that of the HE500. Goes deep and still hits pretty hard. The 500s low end is a little less aggressive, but that's not to imply that PETEREK's work is worthy of the basshead title. It's the kind of low end that brings funky bass lines (like those in the Snarky Puppy) up front, and drops it hard when the chorus from Mr. Clare comes up!
 


Mids: Smooth and clear. The mids on this headphone rank right up there with those found in the Mad Dog. Very smooth, and free of muddiness. Electric guitars have crunch, male vocals are nice and full, and the airy, breathy voice of Lauren Desberg is just gorgeous. To these ears the lower mids don't differentiate from the mid-bass quite as well as say the ZMF or HE500, but that's just me being picky. I will say that the PTKT50's mids sit just slightly behind the frequency extremes. They certainly aren't recessed or unnatural in any way, but they definitely aren't uber-lush or forward like a Grado or HD600. Check out all the subtleties in Bieb's new jam:
 


Treble: Crisp and crunchy! Based on my experience and readings, one of the harder things to nail down using the T50 drivers is the treble range. It's prone to being utterly subdued or overly peaky and disjointed. I felt like the upper end in the Mad Dogs was a little too polite and even though the ZMF got closer, it still didn't dig out the details that a comparably priced open-back could. Well, I'm here to tel you that the upper end in PETEREK's mod is the best one yet. It's got great extension and clarity. Intricate cymbal play and electric guitar strums are wonderfully realistic and the zingy electronics in the Clare and Shad are just groovy! My only qualm with the treble (and really with the whole package) is that the treble can get a little zingy. Just a hair spicy. Now I didn't feel that way as much with warmer tubes in the amps, or with songs that have a smoother top end already, but with more neutral source material and/or amplification, I found the very top end a little fatiguing. 

Soundstage/Separation: Both are very good. I think that the tuning allows for a larger-than-average soundstage, especially for a closed back. Definitely more depth than width. Not quite as realistic as the ZMF Master, but I've certainly not felt like I've been shortchanged in the soundstage department. 
 
Non - Sonic Commentary: If you haven't already, check out the pictures below. PETEREK has recabled, repadded, and revented a stock T50rp. He's painted the cups, tuned and retuned the internals, and installed LEMO connectors (which are pretty freakin' sweet). To say that the PTKT50 is customizable would be an understatement. I'm sure that if you've got an idea for parts or mods for the T50, PETEREK will hook you up! He even removed the stock Fostex headband covering to reduce weight! Brilliant!


 

 

 

 


Conclusion: All in all, you can probably discern that I'm a fan of PETEREK's Modified T50rp. It's been my favorite T50 mod out of the three I've heard. It's got sweet looks, a sweeter price tag, and an even sweeter tuning. For EDM, pop, rock, or jazz listeners, I think this is the T50rp variant for you. For those who are married to neutrality or classical music, the ZMF may be the way for you to go. But all things considered, PETEREK has created a fantastic closed can that will offer the listener a one of a kind headphone who's great looks are only bested by it's excellent sound!

It's been a while since I felt compelled to write an IEM review that I purchased on my own. With the steady influx of new 'budget-king' or 'mid-fi champion' IEMs, it's become a little hard separate the cream from the crop. Well, luckily for this head-fier, I found a pair of these touted hybrids on eBay for a steal and decided to pull the trigger. After several hours both at home and in the car, I'm happy to report that these are living up to their hype. Read on for why!
 
 
The Breakdown 
 
Test Songs (all FLAC either 16/44 or 24/96):
 
The Curtain - Snarky Puppy & Metropole Orkest - Sylva
Hide and Seek - Imogen Heap - Speak for Yourself
A Good Name - Shad - TSOL
Mindfields - Toto - The Essential Toto
Strasbourg/St. Denis - Roy Hargrove Quintet - Earfood
You Go to My Head - Lauren Desberg ft. Gretchen Parlato - Sideways
 
 
Sources:
Rockboxed DX90
MBP > JRMC > Pan Am 
 
Before we jump into specifics, I need to clarify something. The Deltas come with three interchangeable filters that tailor the sound signature. The gunmetal filer is called "smooth," the silver is named "fun," and the magenta (which I think is champagne for some places) is named "vivid." I'm past the point in my listening endeavors where I enjoy overly tilted or colored tunings. I enjoy things that sound real and natural the most. That being said, after trying all three filters, I think the gunmetal has the most realistic presentation so I put it in and never looked back. So. Know that almost all of my listening has been done with the 'stock' gunmetal filters.

Bass: Full and textured. I've learned that my favorite bass presentation is that featuring a present sub-bass sound, with a slight mid-bass boost. This makes kick drums a little more felt than just heard and works better for lower level listening. To give you an idea, my favorite bass belongs to the HE500 with my Grado RS1 as a close second. This is just what the Delta gives me. Electric and upright basses are clean, yet not thin or underrepresented. Kick drums in the Snarky and Toto are very realistic and with Shad's hip hop single, I can't help but to bob my head!

Mids: Crystal clear albeit slightly recessed. I'll be the first to admit, that I don't think anyone does mids as well as Grado. The midrange is where most vocals and melodic instruments are, and as such, it doesn't matter how fantastic tasty the low end is, or how extended and hyper-detailed the treble is, if the mids aren't at least showing up to the party. Luckily for me, I've got nothing to worry about with the Delta. These vocals are framed nicely by the spectrum extremes, neither forward, nor uber-recessed. They aren't quite as rich or organic as my SM64s, but they ain't no slouch! Check Lauren's stuff (free on bandcamp btw!)
 

Treble: Crisp and clean! Don't let their price tag fool you. The upper end is as natural and clear as I've heard in the sub $300 range. At first listen I found it a little grainy, but at the time I was also adjusting to the DX90 sound. Since then, both seemed to have smoothed and become much more in line with the rest of the natural presentation that the good people at Trinity have so graciously afforded us. The intricate cymbal stuff in "The Curtain" and "Strasbourg" are very clear and I'm hearing little nuances in the upper end of the keyboards on both of those tunes I've not heard before! Good stuff here:
 

Soundstage/Separation: Both are very good. Nice depth and width to the SS and never once has anything appeared blurry or congested with regards to separation. That's all I have to say about that!
 
Qualms: From an older Brainwavz review, "Nothing major. The shape of the housing is a little awkward. Doesn't affect fit, just look." The round, obstinate housing isn't very low profile, so wearing this while resting on a seat or pillow isn't very easy, not to mention that small strain relief means the only thing I really have to grab onto is the round, slippery housing. 
 
Other Non-sonic Wins: The accessories and packaging for these guys is excellent. Very modern and clean packaging (that is easy to open!) gives way to a very organized and appropriate selection of tips, carry case, and filters. Oh, and that cable? Definitely lives up to the hype. Nice round weave that cuts down on microphonics that gives way to a sleek 3.5 straight plug (which can be adapted to an included RA-adapter!).

Conclusion: All in all, you can probably discern that I'm a fan of TA's new hybrid, the Delta. It's sound is very natural and realistic to these ears, never presenting anything that I wouldn't get if I was sitting in front of live instruments. The interchangeable filters make it more marketable to listeners who might have other preferences, and the price tag is nothing to think twice about. I've heard the Dunu DN1000 and Fidue A83, and I think the Delta strikes a nice balance between the two. Better overall presentation than the DN1000, and only slightly behind the more expensive A83. If you're in the market for an IEM that checks all the boxes you'd have to worry about in the sub-$200-300 range, I think the Delta from Trinity Audio is a serious contender! 

[Disclaimer: Pandora from Brainwavz reached out to me for a review. I'm in no way affiliated with the company and frankly, I'm quite humbled that I was asked to post my thoughts!]
 
Short Review
The S3 is yet another sub-$100 offering from Brainwavz (this time with inline controls) that, like its siblings, yields quite a bit of bang for your buck. It has what I'd call 'a conservative' sound signature that is pretty good at most things, but not really great at any.
 
Here's the breakdown:
 
Packaging/Accessories/Build Quality
 
Well, Brainwavz has made a name for itself through it's trademark packaging/accessory kit. The S3 comes with an excellent hard case, good selection of tips, and superb build quality, all per usual. The aluminum housings look and feel very premium. They certainly give these IEMs a very impressive look! Strain reliefs and plugs are all great - just what we've come to expect from Brainwavz.
 
Sound
 
First thought that comes to mind: good, not great. The signature is very reminiscent of the company's S0, their budget offering, but honestly I think I like the S0 better... The S3 is detailed and smooth, but not at any point has it impressed me. Don't get me wrong, it doesn't do anything really poorly, but I don't feel like it excels a lot either.
 
Bass: Similar findings to my thoughts on the S0 "Bear in mind, the bass changed the most with tip-rolling if you ask these ears. With the pre-installed tips, the bass was Grado-esque. Punchy and dynamic, rich in mid-bass, not as much in sub-bass. Present, but not very meaty or terribly thick." This IEM presents a perfect example of what it means for bass to be heard rather than felt. I will say that going to the Comply tips and a pair of double-flanges, the midbass was pushed a bit forward, but because the subbass is weak, made the overall bass sound a little more unbalanced.
 
Mids: Smooth and clean. Definitely the most mature part of the S3's signature. The upper mids are a little more forward than their lower counterparts. Female vocals a la Florence + The Machine or Eva Cassidy are very pleasant and realistic. Male vocals are a little recessed, often blurred thanks to electric guitar or keyboard. Not as much fun for Pearl Jam or Pseudopod here.
 
Treble: In a word: polite. Not very extended, but not so rolled off that things are unlistenable. Hihats in Snarky Puppy are a touch zingy, and unfortunately don't get much better with tip-rolling. For the average Joe, the treble should be just fine.
 
Soundstage/Separation/Imaging: Straight from the S0 review: "Decent but nothing to write home about. L to R placement is accurate and probably better than average at this price point. The sense of space isn't huge, but I never felt like it was collapsed or congested either." Overall, not bad, but I think better can be found in this price range.
 
 
Microphone
I believe that the inline controls are the reason for the slightly higher price tag. They work wonderfully and microphone is certainly better than that found on the iPod Earbuds. If you need a sub-$100 IEM and a microphone is high on your priority list, then I think is definitely a model to consider.
 
Overall, the S3 from Brainwavz is a decent all-rounder that will please the average listener. For head-fi though, my thinking is good, not great. Better sound can be found for the price, but finding a better sound with inline controls and this level of build quality will be tough. If those two are your priority, then I don't think you have to look any further. 

Ah, the WA7 "Fireflies" from Woo Audio. As stunning to behold as it is to hear! This is my first piece of amp/DAC kit that retails for over $1k and well, I'd be lying if I didn't admit that I think you people who spend that kind of dough on these things are only slighly less crazy. 

 Here's why:
 
The Breakdown:
 
 
Test Songs (all ALAC either 16/44 or 24/96):
 
Limit to Your Love - James Blake - James Blake
What About Me, Kite, Lingus - Snarky Puppy - We Like It Here
Rich Girl, I Want You Back - Lake Street Dive - Fun Machine
The Twilight Zone - Rush - 2112
The Table - Chris Tomlin - Love Ran Red
Make It Mine - Jason Mraz - We Sing, We Dance, We Steal Things
Fugue, from Young Person's Guide to the Orchestra - Benjamin Britten - Simon Rattle and the BPO
 
Source:
MBP running JRMC20 > WA7 + WA7tp* > HE500, RS1i, and T50RP
 
Sound: Smooth and controlled.
 
Bass: Thick and punchy. Yes the WA7 is tube-tastic, but that's not to say the low end is a smeary mess. On the contrary, it's quite textured, controlled, and deep. The HE500 low end, which is quite good on it's own, is as enjoyable as I've ever heard it. Kick drums have impact AND decay, and bass guitars are textured and articulate. Check out the crazy subbass on the Blake tune. The WA7 makes my brain vibrate! I should also mention, that with the upgrade Electro-Harmonix tubes in the amp and some GE 5-stars in the power supply, the bass is noticeably deeper, and cleaner. Imagine listening to a beginner attempt to walk a bass line on an 3/4 size upright and then getting to hear a pro play on a full-size. Markedly better all the way around. 
 

 
Mids: Rich. Well duh! If you're gonna do tubes, you'd better get the mids right. I'll admit that the WA7 presentation isn't exactly neutral, but in this case, the warmer mids are delicious and a delight to listen to! Any and all vocals (from Lake Street to Rush) sound organic and full. Electric guitars and rock organ are crunchy. Even the growls in the trumpet and sax solos on the Snarky tunes are excellent! Once again, I think I have to mention that the upgrade tubes make a difference here. The EH tubes in the amp are a little warmer than the stock Sovteks. Not mushy or muddy at all. Just a little more forward and more lively. 
 
Treble: From my Gustard H10 review: "Clean and clear! Just like Windex baby!" The upgrade tubes affect the treble the most (bass is second) and well, the upper end certainly keeps up with the lower frequencies. Cowbells, cymbals, and violins are come through nicely and never sound fuzzy or removed. Now I will say that the treble is not super-extended, but it's definitely not so rolled off that I have ever felt like I'm missing something. It bears mentioning that according to many, substituting a standalone DAC like a Bifrost or Concero can really add some extra detail in the upper end, but like I said before, the treble as-is certainly doesn't want for anything.
 
Soundstage/Imaging/Separation: Excellent. The 3D-ness of this little silver box is just awesome. In it's stock form, it's certainly above average, but after adding the tube power supply and rolling a few tubes, the imaging this thing generates is just killer. On 'The Young Person's Guide,' instrument separation and placement is just sublime. Even the RS1's with their smallish presentation, are a joy to listen to! This is certainly a main contributor in the enjoyment of this amp.  
 

 
Aesthetics/Build Quality/Accessories: Do I really have to expound on the looks? This thing looks like something from Brookstone or the Apple store. Just great. Very healthy weight and clean lines through and through. Plugging in headphones doesn't push it around the desk like the Pan Am used to. Very solid. Also from the Gustard review: "No unneeded text or frills, which if you ask me, is something we should be seeing more of... Nice big volume control[...]" The WA7 looks beautiful on the desk next to the MacBook and I'm quite glad it can back up it's looks with some serious sound!
 
Qualms: No real qualms, but there are a few things that the potential buyer may want to know. There are limited input options. In a day and age where most new DACs are coming with at least two, if not 4-5 input options, the WA7 doesn't go that far. You can run USB or RCA. That's it. Also, for you tube junkies out there - this ain't gonna satisfy unless you spend the extra $$$ on the tube power supply. The 6C45 is a small family of tube that doesn't offer a lot of variety. This isn't a problem per se, but don't expect to find pages and pages of options if you search for 6C45 tube rolling!
 
Final Thoughts: I'll spell it out for you: the WA7 is the combo unit to get if you want an all-in-one for under $1k. Add the WA7tp power supply and you've got a setup that rivals plenty of rigs costing upwards of $2000. It looks great, sounds great, and feels great! Like my favorite headphones (RS1s) the WA7 is not the most capable, nor the most revealing, nor the most technical amp/DAC, but I can assure you that it brings a smile to my face every time I power it up! It's just fun! My hat's off to the guys at Woo for making a product that checks off so many boxes.
 
 
*Just to be clear, my review was done based largely on my findings using the WA7 with the tube power supply. The stock PSU is quite capable, but I full-heartedly recommend the WA7tp for anyone wanting to get a little closer to an end game setup.

This is my first product made by Audioengine and you can color me impressed. It's the third USB stick-style amp/DAC I've used (others are Dragonfly v.1 and GO1000), and honestly I think I like it best. It's got power for days, a tiny footprint, and it's plug-and-play! 
 
As for the sound? Well, just read on...
 
The Breakdown:
 
 
Test Songs (all ALAC either 16/44 or 24/96):
 
Limit to Your Love - James Blake - James Blake
Something - Snarky Puppy - Family Dinner, Vol. 1
What About Me - Lake Street Dive - Bad Self-Portraits
Prelude from Cello Suite #4 - Yo Yo Ma
Hot for Teacher - Van Halen - 1984
Make it Mine - Jason Mraz - We Sing, We Dance, We Steal Things
 
Source:
MacBook Pro > JRiver Media Center > D3 > Grado RS1i and EarSonics SM64 V2
 
Sound: Powerful, smooth, and clean.
 
Bass: Clean and punchy. The D3 definitely has a full low end. Luckily, it's not muddy or unrefined. The double bass on "Hot for Teacher" was clean and articulate while that on the Blake tune The Dragonfly had leaner quicker bass, but definitely didn't provide the thump the D3 does. The D3 isn't quite as textured as my O2 combo, but it certainly does the job for pretty much everything I throw at it. I only felt like it could've been better after A/Bing it against my other gear.
 

 
Midrange: Rich and smooth. Very Grado-esque IMHO. Both male and female vocals are rendered beautifully and never once have I felt like they are recessed or 'behind' anything else. Check out Lalah's pipes on the Snarky tune:
 

 
Treble: Clean and clear! Just like Windex baby! Intricate cymbal work in "Make It Mine" comes through quite clearly. My RS1's were doing things I hadn't heard before! The extra percussion textures (shakers, triangle, additional cymbals) in "Something" were nice and crisp. The air in Rachel's voice on the Lake Street Dive tune was just like I've heard it in concert. The highest of the highs may be a little rolled off, but in a 'I don't miss it, because it's very similar to listening to music on vinyl instead of a digital download' kind of way.
 
Soundstage/Imaging/Separation: Through both my RS1's and SM64's the soundstage was noticeably deeper than the sound straight from my laptop. Not a lot of difference in width or height, but the third dimension of depth was definitely better. The musicians in Lake Street Dive and Snarky Puppy sounded like they were actually in their own space instead of jumbled together. From another review I did awhile back on a portable amp/DAC: "No major changes in left-right imaging. Separation was a little better, but that's to be assumed as the details I raved about earlier have improved. Micro-detail retrieval should improve separation as sounds appear more individually rather than in clumps." I will add that some of these improvements were particularly noticeable until after I removed the D3 from the equation. 
 
Build/Form Factor: Excellent. Tiny. Pretty. Rugged. Unobtrusive. What more could you want from a thumb-drive solution? Yes, the D3 get's a little warm after a few minutes, but it's not Schiit Asgard warm people. Definitely nicer than the Dragonfly or the Geek Out.
 
Final Thoughts: Even though the thumb-drive amp/DAC market is somewhat flooded these days, I still think Audioengine has a winner in the D3. It's got plenty of power, a gorgeous form factor, and improves the sound of the laptop plenty enough for it's price. For those of you who prefer a richer, more organic sound signature, I'd recommend the D3 over and over, while those of you who like more analytical listening might want to go the Dragonfly route. Happy listening!

The HM5 Angled Pads are an affordable, versatile, and comfortable pad for the Brainwavz HM5 and most large circumaural headphones. I was offered a review sample from Brainwavz and have the following to say regarding these and their stock counterparts:
 
1. Comfort: Both the pleather and velour pads are exceptionally comfortable. The memory foam is very soft and pliable and distributes weight very well. Even though the Brainwavz HM5 is a bit of a clamper, the lightweight and soft design of the pads alleviates most of the discomfort making these great for long listening sessions. I'll go ahead and make note here however, that the HM5 cups don't swivel too much, which may mean some seal issues for some users if you plan on using these with the HM5.
 
2. Sound: (this section will be very similar to my writeup on the non-angled version of this pad)

1. Velours: Compared to the (angled) pleathers, the sound is a touch more neutral. This may be a weird statement as I consider the HM5 a pretty neutral can as is. Here's the reasoning: A little bass impact is lost coming from the stock pad, but that's to be expected as velour is gonna be more porous than pleather. On the Snarky Puppy and Alice Russell tunes, the kick drum loses a little juice, but certainly nothing drastic enough to cause any dislike or feeling of bass lack. It also bears mentioning in the same way, the velours can take a little more volume to achieve the same levels as the pleathers. Once again, I would assume a little more sound leak is the culprit. 
2. Pleathers: As aforementioned, the most noticeable difference coming from velours to pleathers is bass quantity and sound leak. Pleathers seal a little better and therefore don't have to volume up as much. You could probably predict that they also retain a little more bass impact. 
3. Both: I'd say the most appreciable difference between the angled pads and their flat counterparts is the presentation of soundstage. It definitely gets kicked up a notch in width with the angled pads. Depth doesn't change too much, but the shape is certainly more enjoyable. Going back to the flat pads makes everything feel a little more congested.

 
3. Adaptability: As you can see in these pads' review section title, they fit a ton of over-ear headphones. Even those that don't natively have the same cup shape as the HM5 (i.e. HE500, DT880, MDR V6, even Grados!) are being fitted all over head-fi with mixed results. This time I'm able to try the Sony MDR 7506 and my HE500s (velour only). With the Sony the fit is a little unorthodox, but they will stay on. I didn't like either pad a lot with the 7506 but that's not to say you won't. I just didn't feel like the changes were improvements. For the HE500, only the velours would sit normally on the mounting rings, so I can only comment on them. In a word: Plush. The comfort is killer. I imagine the comfort of the LCD Vegan pads is similar (albeit, much more expensive). With regards to sonic changes over the FocusPads, the bass is a hair less defined, but the treble is crispier. Weird I know, but I checked on several of my test tracks and that's how I'm gonna describe it. This change works really well with the 500s, since their stock sound might be described as 'relaxed' in the treble range. YMMV.
 
Gear used:
 
Test Songs (all ALAC either 16/44 or 24/96):
 
Best for Last - Adele - 19
For a While - Alice Russell - To Dust
Limit to Your Love - James Blake - James Blake
Thing of Gold - Snarky Puppy - Groundup
Hide and Seek - Imogen Heap - Speak for Yourself
Prelude from Cello Suite #4 - Yo Yo Ma
 
Source:
MacBook Pro > JRMC 20 > Audio-gd NFB 10.33 > Brainwavz HM5, Hifiman HE500, & Sony MDR 7506
 
I'm definitely digging the angled pads from Brainwavz. Much like their flat friends, they are the most comfortable pads I've ever used. That's saying something as the DT880 and Focus Pads are both pretty dang comfortable. The sound changes are minimal when used with the HM5, but if searched, head-fiers form all over have reported lots of sonic changes when using these pads for other headphones. The flats became the first pad I recommended to users looking to replace stock pads, and now the angles will be for anyone looking to try out ear-facing drivers on the cheap! Kudos to the people at Brainwavz who continue to make quality products that are affordable and versatile!

The H10 from Gustard is the best solid state amplifier I've heard that retails for under $500. It's better than most that retail for under $1000. This thing deserves a quality review so here it is!
 
The Breakdown:
 
 
Test Songs (all ALAC either 16/44 or 24/96):
 
Limit to Your Love - James Blake - James Blake
What About Me, Kite, Lingus - Snarky Puppy - We Like It Here
Faith, I Want You Back - Lake Street Dive - Fun Machine
Prelude from Cello Suite #4 - Yo Yo Ma
Hot for Teacher - Van Halen - 1984
The Table - Chris Tomlin - Love Ran Red
Make It Mine - Jason Mraz - We Sing, We Dance, We Steal Things
Fugue, from Young Person's Guide to the Orchestra - Ben Britten - Simon Rattle and the BPO
 
Source:
MBP running Fidelia > DacMagic 100
 
Sound: Powerful and clean.
 
Bass: Textured and punchy. The low end on the H10 is just awesome! Very linear, very natural, and very impactful. Kick drums have not just presence, but palpable weight! Bass guitars in the Snarky Puppy and Lake Street tunes are incredibly well-textured and deep! I never felt like I was missing a thing in the low end from this amp. My main headphone is the HE500 and to really capitalize on it's extremely linear bass response, you need some healthy current from a stout amplifier. Enter the H10. Check out the LSD tune:
 

 
Mids: Rich. Seeing as how this amp isn't particularly colored (maybe just a hair on the warm side), there's not much to say about the midrange. It's just clean. Vocals are very present in all the vocal test tunes and the rich, lush tones of Ma's cello come through as naturally as I've ever heard. That's all I have to say about that. 
 
Treble: Clean and clear! Just like Windex baby! Solid state amps often get a bad rap for being too cold in their sound and this usually manifests itself the most in the upper range. Trebles are too far forward and come off as abrasive and unnatural. Let me tell you - not the case here. The texture on guitar slides in "Make is Mine" and "Kite" are great. I can hear everything. Rachel's vocals in the George Michael cover sound oh-so natural and clean. Not a trace of sibilance or artificiality. Could not be happier with how controlled and natural the upper end sounds on the HE500s. Well done Gustard!
 
Soundstage/Imaging/Separation: Superb. The power this amp can throw is commanding and clean which also means that it can cleanly differentiate between all instruments, spaces, and musicians in the mix. Nice wide soundstage that never seems unnatural or distorted. Front to back imaging is great, especially on the classical end of things. Being able to pick up on these sorts of things is what makes this hobby fun for me. Glad to see that I can do that without having to sell a liver!
 

 
Aesthetics/Build Quality/Accessories: Amp looks great. Very sturdy and clean looking and feeling. No unneeded text or frills, which if you ask me, is something we should be seeing more of... Nice big volume control, easy to reach and read inputs on the back (including a slew of gain options). Not really anything to say about packaging or accessories, as well, there aren't any! Just a box and power cord. No paperwork, no nothing! Heaven forbid you get a faulty unit!
 
Qualms: Here's the device's only con. Quality control. Even though this amp represents an incredible bang for your buck, that's no excuse to let units with poorly turning volume pots, or faulty power buttons out of the factory. Mine was purchased secondhand and the volume turned unevenly because the internal rod was warped. I realize that these aren't all premium parts, but having issues like this make an otherwise top-tier feeling amp feel like it's price tag. A little disappointing. 
 
Final Thoughts: I'll spell it out for you. If you don't want to mess with tubes and you already have a DAC, the Gustard H10 should be on your short list. It's inexpensive, built like a tank, versatile, powerful, and just sounds great. Better than Asgard, better than O2, better than Conductor, and just about anything else I've heard that retails for under $5-700. It's various gain settings means it can play well just just about everything, especially planars! I cannot recommend this little beast enough for anyone looking for a solid state desktop solution!